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Journalists, architects and Petit himself contribute to this fascinating and very moving elegy.
Petit himself has long nursed an ambition to make a film about his coup, and took a certain amount of persuading before he agreed to cooperate with Marsh.
This was a stupendous feat of bravery and conquest; during the hour-long walk, throughout which he frolicked and struck attitudes, Petit himself became a real-life Superman, apprehending the skyscrapers directly through his own twanging form.
At the Academy Awards ceremony in 2009, where it won the best documentary prize, Petit himself appeared on the podium: he made a coin vanish then balanced the Oscar on his chin.
His narrative - lyrical, swaggering, urgent, with the odd telltale twist of Gallic syntax - keeps resolutely in the present tense, yet it is impossible not to find portents in his descriptions of these contemporary towers of Babel, built 'in total disregard of the commandment, "Thou shalt not try to reach the clouds".' Petit himself had been rebelling against that commandment since his youth.
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Philippe Petit calls himself "a crazed bicephalous being, half engineer, half poet".
Growing up in the suburbs of Paris, an absurdly rebellious middle child (older sister, younger brother) in a bourgeois family, Petit taught himself to walk on a rope by stretching several ropes between two trees in a meadow on the family's country estate and then taking them away one at a time.
This represents the enormous effort of reducing the unknown to nothing, and Petit does it himself, without a secretary or a computer.
Knowing sexuality winks from every scene, which is perhaps to be expected from Petit, who cast himself as Coppelius in 1975, and as Swanilda, his wife Zizi Jeanmaire who, at the time, in France at least, was a household byword for sex on legs.
As le petit Canadien finds himself in trouble yet again, we wonder about the pressures of childhood fame -- how we might act, if we were teenagers lavished with mansions and Lamborghinis.
Unable to whip out his measuring tape and get the dimensions of the loading dock, Petit brilliantly threw himself against the base of the dock, the dust from which imprinted on his shirt, allowing him to get the precise data he needed.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com